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Ray Anthony - To Each His Own (1966) Vinyl LP • Over the Rainbow, Trumpet

$11.61

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Details

Catalog Number: SPS-429
Record Grading: Excellent (EX), Sleeve Grading: Near Mint (NM or M-)

Condition Details:

Still in ORIGINAL SHRINK-WRAP (opened). Vinyl plays with occasional light-crackles (play-graded). Cover has a few creases near edges; surface impressions (front/back). Inner-sleeve is original (generic white). Spine is unbroken, clean and easy-to-read (printed off-center). Minor shelf-wear along top/bottom-edge and corners. Opening is crisp with signs of light use and divots. (Not a cut-out.)


Tracks:

  • Taking A Chance On Love
  • To Each His Own
  • They Didn't Believe Me
  • Adios
  • Don't Be That Way
  • My Blue Heaven
  • Over The Rainbow
  • It's Delovely
  • My Reverie
  • All Of You

About The Record:

To Each His Own, is a 1966 album by Ray Anthony and his orchestra, was released by Sears in stereo and mono, featuring a collection of jazz-inflected big band renditions of standards like Taking a Chance on Love, Over the Rainbow, and the title track To Each His Own, originally a 1946 Oscar-winning song by Jay Livingston and Ray Evans. Recorded during a period when Anthony, the last surviving member of Glenn Miller’s orchestra, was adapting his swing style to the mid-1960s lounge and MOR (middle-of-the-road) trends, the album reflects his effort to maintain big band relevance amidst rock music’s dominance. The tracklist, including Cole Porter’s It’s Delovely and All of You, showcases Anthony’s signature trumpet and lush arrangements tailored for nostalgic listeners, with Sears’ “Authentiphonic True Dimensional Sound” branding emphasizing its stereo quality. Historically significant for its release under Sears’ budget label rather than Capitol, where Anthony had recorded over 40 albums, it marks his pivot to accessible, department-store distribution during a transitional phase post his 1961 divorce from Mamie Van Doren. No hit singles emerged from this album, as Anthony’s chart success had faded since his 1950s peaks with Dragnet and Peter Gunn.

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